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Music trade --- Music business --- Music industry --- Cultural industries

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Within the last two decades streaming services and digital platforms have come to dominate the distribution of recorded music. What has this transformation meant for the music industry in Norway? From Spinning to Streaming: Norwegian Music Reaching the World presents research on how artists, musicians, composers and other intermediaries within Norway’s music industry are meeting this digital reality.Digitalization has led to new possibilities for producing and distributing music, as well as for exporting music and succeeding on an international level. Yet the route out into the world via the internet can be both steep and unpredictable. By investigating ways of working, types of expertise required, as well as economic and copyright circumstances, the authors demonstrate how digital media are both important tools for creating musical works and a key engine of development in the music industry itself.The authors rely on various theoretical concepts and analytical perspectives to explore the interplay between technological, professional, social and cultural conditions in the music industry’s development. A central finding in the book is the need among several actors in the Norwegian music industry for increased specialized competence and understanding regarding rights issues. In addition, the “platformization” of the industry calls for a greater degree of professionalization and specialized expertise than the Norwegian music industry is equipped with today.From Spinning to Streaming: Norwegian Music Reaching the World will be of interest to researchers, students, politicians, decision-makers and other actors within the music industry.The book’s authors are Anja Nylund Hagen, University of Oslo; Mari Torvik Heian, Telemark Research Institute; Roy Aulie Jacobsen, Telemark Research Institute; and Bård Kleppe, Telemark Research Institute.; De siste ti årene har strømmetjenester og digitale plattformer nærmest overtatt distribusjonen av innspilt musikk. Hva har det gjort med norsk musikkbransje? I boka Fra plate til plattform: Norsk musikk ut i verden presenteres forskning på hvordan artister, musikere, komponister og ulike mellomledd i norsk musikkbransje håndterer den digitale hverdagen.Digitaliseringen har gitt nye muligheter til å produsere og distribuere musikk, drive med musikkeksport og til å lykkes internasjonalt. Samtidig kan veien ut i verden via internett være både uforutsigbar og bratt. Ved å undersøke arbeidsmåter, kompetansebehov og forhold knyttet til økonomi og opphavsrett, viser forfatterne hvordan digitale medier både er viktige verktøy i arbeidet og sentrale drivkrefter for bransjeutviklingen.Forfatterne bruker ulike teoretiske begreper og analytiske perspektiver for å undersøke samspillet mellom teknologiske, profesjonelle, sosiale og kulturelle forhold i musikkbransjens utvikling. Et sentralt funn i boka er at musikkbransjen har behov for økt bransjekunnskap og rettighetsforståelse. Plattformsentreringen inviterer også til større grad av profesjonalisering og spesialisert kompetanse enn det den norske musikkbransjen er rigget for i dag.Boka er relevant for forskere, studenter, politikere, beslutningstakere og aktører i musikkbransjen.Fra plate til plattform: Norsk musikk ut i verden er skrevet av Anja Nylund Hagen, Universitetet i Oslo, Mari Torvik Heian, Telemarksforsking, Roy Aulie Jacobsen, Telemarskforsking og Bård Kleppe, Telemarksforsking.

Music industry --- Norwegian music industry --- digital music service --- music export --- digitalization --- Musikkindustri --- norsk musikkbransje --- strømmetjenester --- digitale plattformer --- musikkeksport --- digitalisering

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Within the last two decades streaming services and digital platforms have come to dominate the distribution of recorded music. What has this transformation meant for the music industry in Norway? From Spinning to Streaming: Norwegian Music Reaching the World presents research on how artists, musicians, composers and other intermediaries within Norway’s music industry are meeting this digital reality.Digitalization has led to new possibilities for producing and distributing music, as well as for exporting music and succeeding on an international level. Yet the route out into the world via the internet can be both steep and unpredictable. By investigating ways of working, types of expertise required, as well as economic and copyright circumstances, the authors demonstrate how digital media are both important tools for creating musical works and a key engine of development in the music industry itself.The authors rely on various theoretical concepts and analytical perspectives to explore the interplay between technological, professional, social and cultural conditions in the music industry’s development. A central finding in the book is the need among several actors in the Norwegian music industry for increased specialized competence and understanding regarding rights issues. In addition, the “platformization” of the industry calls for a greater degree of professionalization and specialized expertise than the Norwegian music industry is equipped with today.From Spinning to Streaming: Norwegian Music Reaching the World will be of interest to researchers, students, politicians, decision-makers and other actors within the music industry.The book’s authors are Anja Nylund Hagen, University of Oslo; Mari Torvik Heian, Telemark Research Institute; Roy Aulie Jacobsen, Telemark Research Institute; and Bård Kleppe, Telemark Research Institute.; De siste ti årene har strømmetjenester og digitale plattformer nærmest overtatt distribusjonen av innspilt musikk. Hva har det gjort med norsk musikkbransje? I boka Fra plate til plattform: Norsk musikk ut i verden presenteres forskning på hvordan artister, musikere, komponister og ulike mellomledd i norsk musikkbransje håndterer den digitale hverdagen.Digitaliseringen har gitt nye muligheter til å produsere og distribuere musikk, drive med musikkeksport og til å lykkes internasjonalt. Samtidig kan veien ut i verden via internett være både uforutsigbar og bratt. Ved å undersøke arbeidsmåter, kompetansebehov og forhold knyttet til økonomi og opphavsrett, viser forfatterne hvordan digitale medier både er viktige verktøy i arbeidet og sentrale drivkrefter for bransjeutviklingen.Forfatterne bruker ulike teoretiske begreper og analytiske perspektiver for å undersøke samspillet mellom teknologiske, profesjonelle, sosiale og kulturelle forhold i musikkbransjens utvikling. Et sentralt funn i boka er at musikkbransjen har behov for økt bransjekunnskap og rettighetsforståelse. Plattformsentreringen inviterer også til større grad av profesjonalisering og spesialisert kompetanse enn det den norske musikkbransjen er rigget for i dag.Boka er relevant for forskere, studenter, politikere, beslutningstakere og aktører i musikkbransjen.Fra plate til plattform: Norsk musikk ut i verden er skrevet av Anja Nylund Hagen, Universitetet i Oslo, Mari Torvik Heian, Telemarksforsking, Roy Aulie Jacobsen, Telemarskforsking og Bård Kleppe, Telemarksforsking.

Music industry --- Impact of science & technology on society --- Media studies --- Music industry --- Norwegian music industry --- digital music service --- music export --- digitalization --- Musikkindustri --- norsk musikkbransje --- strømmetjenester --- digitale plattformer --- musikkeksport --- digitalisering

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»This video is not available in your country.« With this sentence, the video platform YouTube fueled many years of dispute with the German collecting society GEMA. Numerous online discussions focused on the appropriate remuneration for music streaming – GEMA bashing followed. Music and copyright have always been a contentious issue. Digitization set in motion a process that changed the way music and other creative goods are produced, consumed, distributed and exploited. This break undermined previous business models of the music industry and shook basic assumptions in the understanding of copyright. Philip Stade focuses on the particular online discourse YouTube vs. GEMA and, in the spirit of cultural studies, opens up interdisciplinary and historical perspectives on the fields of music business, copyright and capitalism in the digital transformation. The focus is on hegemonic strategies and the central role of social media. Even though the social and economic upheavals of the digital transformation are far from complete, Stade precisely elaborates which overarching shifts are taking place in the relationship between exclusive control and free access. For we are only just beginning to understand how digital capitalism works. »Dieses Video ist in deinem Land leider nicht verfügbar.« Mit diesem Satz befeuerte die Video-Plattform YouTube die jahrelange Auseinandersetzung mit der deutschen Verwertungsgesellschaft GEMA. In zahlreichen Online-Diskussionen ging es um die angemessene Vergütung für das Musikstreaming - das GEMA-Bashing folgte. Musik und Urheberrecht waren und sind ein konfliktreiches Thema. Mit der Digitalisierung setzte ein Prozess ein, der die Art veränderte, Musik und andere kreative Güter zu produzieren, zu konsumieren, zu verbreiten und zu verwerten. Diese Zäsur untergrub bisherige Geschäftsmodelle der Musikwirtschaft und erschütterte Grundannahmen im Urheberrechtsverständnis. Philip Stade richtet den Blick auf den besonderen Online-Diskurs YouTube vs. GEMA und eröffnet im Sinne der Cultural Studies interdisziplinäre und historische Sichtweisen auf die Felder Musikwirtschaft, Urheberrecht und Kapitalismus im digitalen Wandel. Im Fokus stehen dabei hegemoniale Strategien sowie die zentrale Rolle Sozialer Medien. Auch wenn die gesellschaftlichen und ökonomischen Umwälzungen des digitalen Wandels längst nicht abgeschlossen sind, arbeitet Stade präzise heraus, welche übergeordneten Verschiebungen im Verhältnis von exklusiver Kontrolle und freiem Zugang stattfinden. Denn wir beginnen gerade erst zu verstehen, wie der digitale Kapitalismus funktioniert.

Music industry --- Copyright law --- Media studies --- Music recording & reproduction --- YouTube --- GEMA --- social media --- music industry --- streaming --- Cultural Studies --- Popular Music Studies --- media law --- sampling --- copyright --- intellectual property rights

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20 years of dispute over one and a half seconds of copied music? The dispute in the »Metal on Metal« (German: »Metall auf Metall«) case between the music group Kraftwerk and the composer Moses Pelham even occupied the European Court of Justice in 2019. It shows that copyright has become a socially contentious issue that has pushed its way out of the niche of the artistic sphere and into the everyday lives of almost everyone. This process has not gone unnoticed by academia, and yet academia is only just beginning to understand the implications and effects of this copyright expansion in more detail. Sociologist Georg Fischer provides the first empirical study of sampling in music that explicitly examines the impact of German copyright law on creative practice. He shows the abundance and diversity of creative circumvention strategies that have spread and taken root in the shadow of copyright law – and with which artists necessarily limit their own visibility as well as the aesthetic complexity and monetary exploitation of their works. 20 Jahre Streit um eineinhalb Sekunden kopierte Musik? Die Auseinandersetzung im Fall »Metall auf Metall« zwischen der Musikgruppe Kraftwerk und dem Komponisten Moses Pelham beschäftigte 2019 sogar den Europäischen Gerichtshof. Sie zeigt, dass das Urheberrecht zu einem gesellschaftlichen Streitthema geworden ist, das sich aus der Nische des künstlerischen Bereichs in den Alltag nahezu aller Menschen gedrängt hat. Dieser Prozess lief nicht unbemerkt von der Wissenschaft ab und dennoch ist diese gerade erst dabei, die Implikationen und Effekte dieser urheberrechtlichen Ausdehnung genauer zu verstehen. Der Soziologe Georg Fischer liefert die erste empirische Studie zum Sampling in der Musik, die explizit den Einfluss des deutschen Urheberrechts auf die kreative Praxis untersucht. Er zeigt die Fülle und Vielfalt an kreativen Umgehungsstrategien, die sich im Schatten des Urheberrechts ausgebreitet und verankert haben – und mit denen die Künstler_innen die eigene Sichtbarkeit sowie die ästhetische Komplexität und monetäre Verwertung ihrer Werke notgedrungen einschränken.

Copyright --- Music --- copyright --- sampling --- music industry --- Kraftwerk --- Moses Pelham --- intellectual property rights --- level of creativity